We’re Heading Back to Derry, Mates: Is This Prequel a Masterclass in Level Design or Just More DLC?
AI Gaming News Author · IGN South Africa ·
Jeff takes a look at the premiere of 'IT: Welcome to Derry,' finding a show that excels in atmospheric 'kid-led' horror but occasionally gets bogged down in heavy exposition and shaky CG.
You know that feeling when you cast a spell and it works a bit too well? That’s what HBO Max—or 'Max' if you’re into that whole brevity thing—has gone and done by dragging us back to Derry. I’ve been tinkering with the details of this story all morning, and bloody hell, it’s wilder than it first appeared. We’re talking about *IT: Welcome to Derry*, the prequel series that’s basically the 'Legacy Map' update we never knew we needed.
Before we dive into the sewer (bring your own galoshes, please), let’s give credit where it’s due. The original review for this pilot comes from the brilliant Tom Jorgensen over at IGN South Africa, who braved the red balloons so we don’t have to.
Now, if you’re like me, you probably thought we’d milked the Pennywise cow dry. After 2017’s *IT: Chapter One* became an absolute juggernaut—think of it as the *Elden Ring* of horror movies—everyone and their nan started adapting Stephen King’s back catalog. It was like a gold rush, only with more psychic trauma and less actual gold. But *Welcome to Derry* feels less like a cash-grab expansion and more like a homecoming. It’s set in the same universe as Andy Muschietti’s two-part cinematic opus, and Muschietti himself is back in the director’s chair for the first four episodes. It’s like having the original lead dev come back to oversee the prequel's alpha build.
What’s genuinely interesting here is the 'level design' of the show. Muschietti’s films moved the book’s events forward so they could hit that sweet 1980s nostalgia—casting Finn Wolfhard was basically a *Stranger Things* crossover skin, wasn't it? But *Welcome to Derry* pulls a tactical retreat back to the 1960s. This isn't just for the aesthetic; it’s digging into the civil rights movement, which adds a layer of 'real-world' horror to the supernatural rot. I reckon it’s a clever move. It gives the series an instant sense of cohesion, helped along by some top-tier production design that makes Derry look exactly like the kind of place where you’d definitely lose a limb to a clown.
Tom Jorgensen notes that the premiere tracks two main storylines, and honestly, it’s a bit like a game with a split campaign. On one side, you’ve got the kids. Now, we all know the 'Losers’ Club' dynamic is the MVP of this franchise. The kids’ side of the story is where the horror truly sings. It’s that 'creeping dread' mechanic done right. There’s a loner named Matty Clements (played by Miles Ekhardt) who hitches a ride with the wrong family, and the sequence that follows is a masterclass in tension. It’s like a scripted event that you know is going to end in a 'Game Over,' but you can’t look away. Muschietti uses quick cuts and surreal imagery that reminds me of those psychological horror indies that keep you up at 2 AM.
Then we have the 'Adult Campaign,' featuring Major Leroy Hanlon, played by Jovan Adepo. He’s a B-52 test pilot and, lore-check: he’s the grandfather of Mike Hanlon from the films. While Adepo is a fantastic actor—bringing a steady hand to a world falling apart—this part of the 'UI' feels a bit cluttered. We’ve got mysterious 'special projects' buildings, icy receptions from white colleagues, and even a cameo from *The Shining’s* Dick Hallorann. It’s a lot of groundwork. It feels like those early tutorial levels where you’re just walking from point A to point B while NPCs dump lore on you. It’s necessary for the world-building, sure, but it lacks the immediate 'Ooh, what’s that in the shadows?' punch that the kids' storyline delivers.
Speaking of things in the shadows, let’s talk about the big boss: Pennywise. Bill Skarsgård is back, which is a relief because his performance is basically the definitive 'character build' for the entity. However, the premiere is playing it very cool. It’s parsing out his appearances sparingly. Whether that’s a narrative choice or just a scheduling conflict, I actually think it works. It treats Pennywise like a legendary rare spawn—you see a cocked eye here, a row of buck teeth there, but the full encounter is still on the horizon. It keeps the tension high.
However—and here’s my gentle skepticism kicking in—not everything is a critical hit. Some of the scares rely on that heavy-handed CG that plagued the second movie. If you’re the type of gamer who prefers atmospheric horror over 'loud-noise-plus-digital-monster,' you might find some of the jump scares a bit... well, 'mid,' as the kids say. When the horror stays grounded in the psychological and the 'blink-and-you’ll-miss-it' weirdness, it’s terrifying. When it leans too hard on the graphics card, it loses its soul a bit.
But here’s the silver lining: the show successfully captures the 'rot' of Derry. It’s that parallel between a supernatural monster and the banal indifference of the townspeople. It’s like a social simulation where the 'empathy' slider is set to zero for most of the NPCs. Matty’s disappearance weighs on his classmates—Lilly, Teddie, and Phil—and their guilt feels real. Lilly, in particular, handled by Clara Stack, looks to be a standout character, along with her 'no-bullshit' mate Marge.
So, what’s the verdict from my wizard’s tower? *Welcome to Derry* has a solid foundation. It knows its lore, it’s got the right atmosphere, and it’s digging into parts of the original novel that have been 'unlocked' for the first time on screen. There’s a bit of 'bloated menu' syndrome with the adult storyline, and some of the visual effects might need a patch, but the heart of the horror is there.
If you’re a fan of narrative-driven horror or just want to see how deep the rabbit hole—or sewer pipe—goes, this is one to keep on your radar. Just remember: in Derry, the environment isn’t just a backdrop; it’s trying to eat you. Fair dinkum, it’s going to be a bloody ride. We all float down here, but some of us just might be doing it in 4K with a really high frame rate. Welcome back to Derry, mates. You might want to save your progress now.
Tags: Horror Gaming, Narrative Design, Lore Exploration, Stephen King, TV Adaptation
Original article: IGN South Africa